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Alternately, "politicization of aesthetics" (or "politicization of art") has been used as a term for an ideologically opposing synthesis, [2] wherein art is ultimately subordinate to political life and thus a result of it, separate from it, but which is attempted to be incorporated for political use as theory relating to the consequential ...
The subject and themes of Benjamin's essay: the aura of a work of art; the artistic authenticity of the artefact; the cultural authority of the work of art; and the aestheticization of politics for the production of art, became resources for research in the fields of art history and architectural theory, cultural studies, and media theory. [3]
The theme of the aesthetic justification of existence Nietzsche introduced from his earliest writings, in "The Birth of Tragedy" declaring sublime art as the only metaphysical consolation of existence; and in the context of fascism and Nazism, the Nietzschean aestheticization of politics void of morality and ordered by caste hierarchy in ...
A new art form struggling for acceptance is digital art, a by-product of computer programming that raises new questions about what truly constitutes art.Although paralleling many of the aesthetics in traditional media, digital art can additionally draw upon the aesthetic qualities of cross-media tactile relationships; interactivity; autonomous generativity; complexity and interdependence of ...
Download QR code; Print/export Download as PDF; Printable version; In other projects ... Aestheticization of politics; Aestheticization of violence
Aristotle writing of the literary arts in his Poetics stated that epic poetry, tragedy, comedy, dithyrambic poetry, painting, sculpture, music, and dance are all fundamentally acts of mimesis, each varying in imitation by medium, object, and manner. [10] [11] Aristotle applies the term mimesis both as a property of a work of art and also as the ...
Aestheticism has its roots in German Romanticism.Though the term "aesthetic" derives from Greek, Alexander Gottlieb Baumgarten's Aesthetica (1750) made important use of it in German before Immanuel Kant incorporated it into his philosophy in the Critique of Judgment (1790).
Adorno retraces the historical evolution of art [2] into its paradoxical state of "semi-autonomy" within capitalist modernity, considering the socio-political implications of this progression. Some critics have described the work as Adorno's magnum opus and ranked it among the most important pieces on aesthetics published in the 20th century.